• Fashion & Textile Research Journal
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• v.24 no.6
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• pp.719-730
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• 2022

This study explored the impact of beauty influencers' characteristics and product characteristics on new product acceptance intentions and studied the mediating effects of consumer trust in this process. A survey was conducted from February 22, 2021, to February 28, 2021, with Gen Y and Gen Z women in China, and 379 questionnaires were analyzed. The conclusions are as follows: First, the characteristics of beauty influencers are authenticity and expertise, similarity, attractiveness, interactivity, familiarity, and trustworthiness; product characteristics are cost, image, product quality, product perception, sales promotion, and sustainability. Second, partial beauty influencers' characteristics and partial product characteristics have a positive impact on consumer confidence and acceptance intention of the new product. Third, the mediating effect of consumer trust in the process by which beauty influencers' characteristics and product characteristics influence the intention of new product acceptance was determined. Therefore, when beauty companies use influencers in marketing, it is necessary to understand their characteristics, consider their professionality and authenticity, examine their reliability, and assess their ability to form connections with images and viewers that match their products. Additionally, to increase the acceptance intention of new products, companies should present the price of high-quality products, product sensibilities, and corporate images of products and establish measures that can positively affect consumers' acceptance intention of new products by combining them with the characteristics of beauty influencers.

• Journal of Fashion Business
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• v.19 no.4
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• pp.57-74
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• 2015

The history of foot-binding was once regarded as a unique practice accentuating the beauty of a woman and the culture of the costume, to be found nowhere except in China. This thesis makes it an aim to understand the culture of costume in China by analyzing the beauty of foot-binding, and its meanings associated with the historical background of the costume. The method of investigation was by both previous literature on the topic and case analysis. The shoes were analyzed by colors, patterns and decorations; selecting 70 pieces easily accessible in the Tianjin Huaxia Shoes Culture Museum. In terms of form, the general type was of the most frequent, followed by one with an elevated toe, mixed type, and one of the downward toe, sequentially. The color of foot-binding shoes were mostly vivid chromatic colors, while the achromatic ones like black and grey constituting significant portions. In view of the patterns, plants patterns were the most frequent, followed by the mixed patterns of mostly flowers with butterflies, bats, and birds desiring the prosperity of descendants. In view of the ornaments, embroidery was the most frequent, while the mixed shoes included tassels, sequins, applique, and shoes without ornaments were of distributions. The forms, colors, patterns and ornaments clearly associated with the wishes of artistic beauty, sexuality, and rise in women's social status may be in the hope of leading others to understand the costume culture embedded in the Chinese by providing important clues about them.

• Fashion & Textile Research Journal
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• v.22 no.6
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• pp.739-751
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• 2020

This study compares and analyzes bridal wedding styles in Korean and Chinese SNS. For this, 715 photos (362 in Korea and 353 in China) collected on social media (Instagram and Xiaohongshu) were used for analysis. The bridal wedding style was divided by item into wedding dress, makeup, and hairstyle, and detailed characteristics of images and designs were examined through content analysis and statistical analysis. First, in the case of Korea, many wedding dresses showed ball gowns and mermaid silhouettes, white colors, and no details and trimmings. As for the makeup, transparent and natural skin expression, straight eyebrows, and pink and peach lip colors were highlighted; and as for hairstyles, many long hair with half-covered ears appeared. Second, in China, a ball gown, mermaid silhouette, and white color are often seen in wedding dresses, and point colors and use of various details and trimmings are noted. The makeup showed a lot of bright skin expression, brown and black eyebrows, and red and brown lip colors. As for hairstyle, a lot of long hair with completely exposed ears appeared. Third, the comparison of bridal wedding styles between Korea and China indicated that China used relatively more details and trimmings in wedding dresses. As for makeup, Korea has a natural image, and China has a classic image. As for the hairstyle, there were many styles in which Koreans had half the ears covered, and Chinese had no bangs and completely exposed ears.

• The Research Journal of the Costume Culture
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• v.15 no.3 s.68
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• pp.394-404
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• 2007

The purpose of the study was to analyze the difference in knitwear purchasing behaviors of female college students in the U.S., Korea, and China. It was developed questionnaire that included knitwear purchasing behavior that is fashion information sources, evaluation criteria of knitwear products, store attributes of knitwear, knitwear buying places, and purchasing experience of foreign-made knitwear. The final sample used in this study consisted of 119 female college students in U.S., 150 female college students in Korea, and 217 female college students in China. Aged from 18 to 33. ANOVA, factor analysis, Duncan's multiple range test, frequency, and percentage as analysis methods were used. The results of the study were as follows. The preference of knitwear among the respondents was shown highly. This result is due to a world-wide trend of casual clothing, and is to prove, that knitwear is that made with flexibility, drape, and stretch, is the item that is able to satisfy consumer's desires. Knitwear preference of knitwear the U.S. respondents was shown highly, and buying intention of them was also high, not only for sweaters and t-shirts but for pants, skirts, jackets, coats, and dresses as well. Knitwear information the U.S. respondents considered important, was not only purchasing experience but also shop display and magazine advertisements. By evaluating criteria of knitwear, the U.S. respondents considered good fit, design, color, and comfort important, and they didn't consider the country of origin important. By store attributes of knitwear, the U.S. respondents specially considered the display, variety, price level, and sale frequency of merchandise. The respondents of China was shown higher than them of Korea in the intention of all items. Knitwear information the China respondents considered important, was not only purchasing experience but also shop advertisements of Newspaper and magazine and fashion articles in Newspaper and magazine. By evaluating criteria of knitwear, the China respondents considered good fit, design, color, and comfort important, and they considered fiber content and the country of origin higher than the respondents of U.S. By Store attributes of knitwear, the China respondents specially considered product knowledge and friendliness of sales personnel, Layaway payment plan, Brand names, New Fashion, and Dressing Facilities higher than the respondents of U.S. or Korea.

• The Research Journal of the Costume Culture
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• v.15 no.1 s.66
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• pp.127-136
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• 2007

Modern society shares new culture derived from the fusion of various cultures unlike the past culture regulating one phenomenon of certain field as the representative icon of the era. Especially, the phenomenon of globalization acts as the catalytic agent to receive coexistence of variousness easily. Especially, in fashion industry, these flows and the view of naturalism are harmonized and new fashion trend called 'Ethnic' was embossed. As it reflects internal spirit of human being that wants to return to the memory due to expansion of material civilization, the interest in the designer pursuing it is increasing. This study tries to consider the Ethnic style displayed by Chinese American designer, Anna Sui, who pursues the eastern style with full wit and individuality. Anna Sui, who was praised by New York Times for 'the superb harmony of houte couture style and up-to-date style', created another fashion trend, romanticism in New York and she is the worldwide designer representing Ethnic. Like it, the consideration on her Ethnic style reanalyzing as eastern style provides guidance to check how designer's fashion philosophy appears in one category of America and China and new study material that enables us to understand the third world culture code as well as Anna Sui. This confirmation has the meaning as the basic material for the endless challenge to the new style that fashion will go on in the future. Anna Sui was confirmed to have been recognized as a designer who represented the ethnic collection in the United States, exerting the influence with her unique oriental background. Moreover, her design could identify the pivotal point of ethnic image by developing her unique style which is distinct from other designers in terms of silhouette, color, fabric, detail, and so on. This kind of study can provide the basic data required to understand the fashion world of designer in the future.

• The Research Journal of the Costume Culture
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• v.15 no.5
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• pp.902-915
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• 2007

This study examines decorative features found in the traditional costume of the Miao, one of the minority groups in China, and adapts them for the development of modern Korean-style fashion designs in order to present visual sample data and to introduce techniques. As for the research method, both literature and visual data are examined: the former includes Miao-related books and theses; the latter, pictures from various documents and real-life data in the possession of Seoul Women's University. The study result is as follows: 1. The basic structure of Miao costume is consist of a Caftan-type upper garment and an accentuated lower garment, pleats skirt although they are decorated luxuriously with various techniques such as delicate embroidery and dyeing. 2. Details and trimmings in modern shapes are developed and presented by adding modern materials to satin, twists, cross-stitch embroidery, stripe patterns, geometrical patchwork, machine pleats and smoking, trimmings of fringe & feather, and the border line decoration of coloration, braids, piping, embroidery, belts tied and wound with colorful threads. 3. Detachable accessaries such as front reinforcement strips, back reinforcement strips, belts, decorative aprons and patchwork skirts are developed and designed by adapting highlighted layered effects. 4. The silver decoration used as an necessary by the Miao is suitable for modern fashion design in futuristic sense. Various techniques and decorative features of Miao costume display their true value all the more in modern fashion stream in which ethnic trends draw much attention.

• Journal of the Korea Fashion and Costume Design Association
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• v.24 no.2
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• pp.131-146
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• 2022

The purpose of this study is to implement the textile design applying the floral pattern shown in Korean traditional fabrics and the New-Hanbok Chulic Dress in 3D through a virtual fitting system. As a research method, first, we analyzed the floral pattern types of fabrics in the literature related to traditional Korean textiles. Second, we developed textile designs of traditional flower motifs using 13 extracted flower types. Third, we applied the floral textile designs to the 3D original form of new-Hanbok Dress produced based on design preference survey results. The findings derived through this study are as follows. First, among Korean traditional patterns, the type of flowers used in textiles were blossom of chrysanthemum, orchid, camellia, apricot, peony, peach, pomegranate, hydrangea, narcissus, lotus, plum, chinese rose, and rosa rugosa. Second, this study found that the value of traditional culture can be further increased by using traditional flower patterns as an infinite source of creative design. Third, it was confirmed that the new-Hanbok can be developed endlessly as a clothing design that combines various morphological modifications and patterns without departing from traditional designs. In the future, if the research on costume design using various items of traditional clothing and the development of textile designs based on traditional culture continues, the development of new clothes design that leads to the development of Korean traditional clothing culture and meets the sensibilities of modern people will be endless.

• Journal of the Korean Society of Costume
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• v.64 no.5
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• pp.108-124
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• 2014

The purpose of the study is to figure out the difference in preference of clothes between Korean and Chinese female college students, who share similar ethnic traits despite having different sociocultural backgrounds and environment, and see the differences in their body image and body satisfaction. The questionnaire-based survey for the study was conducted for about a month and a total of 449 copies of the questionnaire were collected for the final research. For the research method, we examined the differences in clothes preference and fit between Korean and Chinese students, and then the corresponding differences in body image and body satisfaction. The result showed significant differences in the categories of skirt length, pants length, upper garment fit, and lower garment fit. Korean students preferred slim fit clothes, while their counterparts preferred natural fits. A comparison of body image between Korean and Chinese female students showed that the Korean students had lower body satisfaction levels, and viewed themselves as fat even though they were slimmer than their counterparts. The conclusion of the analysis was that compared to Korean students the Chinese students pursued a more comfortable and casual style, preferring unique and diverse designs instead of simply following a fashion trend.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.3
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• pp.57-70
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• 2016

Gutnori(ritual A Comparative Study on Shaman's Costume of south coast Byeolsingut in Korea and the Guizhou Nahui in China play) refers to a play in the form of showing actual appearance of god and actual comedic gag with gutguri rhythm. In order to carry out a comparison between the shaman's costume in Korea and China, this study will delve into the types of shaman costumes that are worn in the gutnoris(mask plays) performed in Korean guts and those of China performed in Nahui. As research method, literature reviews and field surveys have been conducted concurrently. In terms of literature reviews, previous research have been studied centrally. For field surveys, Korean gut, Byeolsingut performance was observed for 2 days 1 night between 1st Feb. 2014-2nd Feb. 2014 in the south coast and Chinese Nahui in Guizhou was observed for 2 days 1 night between 25th Nov. 2014-26th Nov. 2014. By comparing Shaman's costume that is worn in Korean shamanism with that of Chinese shamanism as a partial means of understanding the uniqueness of Korean shaman's costume, the following conclusion was derived upon focusing on the common types of gutnori costumes and organizing them. As a universal trait for shaman's costumes in gutnori and nahui in Korea and China, traditional clothing were worn. A unique trait for shaman's costume in gutnori and nahui in Korea and China, deity expressions were shown in both cases using colors.

• Journal of Fashion Business
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• v.15 no.2
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• pp.23-38
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• 2011

This research is to examine the formative of patterns and characteristics of expression in Danzhai Miao batik of Guizhou China and to reveal the cultural factors and characteristics of artistic expression inherent to it. As the research methodology, theoretical study was done by utilizing the preceding research data, literature data at home and abroad, photo data, and Internet data, and as the empirical research, field trip was made to Guizhou China and investigation and experiment of dyeing techniques, purchase of dyeing craftworks, photography shooting, and interviews were conducted. The results of this research showed that ancient Chinese batik began in Miao in the Jinhan era and the three types of Miao's traditional batik, i.e. Danzhai batik, Huangping batik, Anshun batik. Danzhai Miao batik obtained indigo blue white patterns through traditional production techniques and natural dyeing batik and represented Miao batik of Guizhou. In the expression of Danzhai Miao batik, based on the cultural backgrounds, the formative such as symbolic of patterns, tradition, primitive, reality, abstract, and decorative of dress designs and high dignity of artistry of creative batik patterns be found from the aspect of expressing magnanimous nationality.